This was the Guitar Sound of the 80s

I I want to if if you don't mind transition to another song that came out that same year okay with the great Peter satara oh yeah yes same sound it's an easy it's an easy uh it's a similar sound except you also have uh listening to the iso tracks I know I sent it to you before and it's it's really cool and that like some of the you know right before you get into the chorus there there's like a doubling there's like a clean version of the guitar sound and then a dirty version of that same guitar sound yeah yeah and man that Glory of Love Is just like it's such an amazing song it's got beautiful clean Parts again beautiful Distortion and and outro to you kind of like take like this Blues solo I don't know if you listen to that kind of the outro section did of it it's almost like kind of like a like a Stevie Rish yeah do what do you remember about that Peter SATA session the the well David Foster was obviously on he produced that one I think didn't he no that was Michael om Maran that was Michael om Marian and he played piano on it for sure yeah Michael's great no that's Michael that's Michael playing it yeah so David Foster wasn't involved with that one at all not on that song at all okay um my memory I I think I think that may have been the first time I worked for Michael Marian man and so and you know and you know I mean he was still in La at that time or was he in Nashville no this was in Los Angeles mid 80s and um the same kind of uh I had the same kind of uh anxiety number one uh or nerves good healthy nerves it wasn't anxiety it was just I was too young to to be I was too dumb to get too nervous but I was I knew I knew what I was kind I knew this was the upper echelon Michael was making great records and um was it Lion Share Studio I do remember that and of course you know I was a big fan of Chicago so SAA and um I just I I remember being you know just a little bit nervous and and going in and they were the same thing just start playing the song yeah it was I think I think they had one no I I don't think there were any scripted Parts I think I think you know and of course this is me looking back now as an old much older man in the way I produce records and and I probably well that was school for me that I didn't know that I was entering my the total of my life and the scope of my life was through the lens of of of six strings on a guitar yeah all I wanted to do was be a studio guitar player since I was 13 so I left Nashville at a young age and and if you were going to make your M it was going to be in Los Angeles and if you were going to make your mark it had to be with the top producers so I was starting to to you know for whatever reason I was finding myself in those in the in the company of people like that so we'd go and but most of these guys were such great musicians and great leaders that they would they would they just they throw tracks up I mean I wasn't a great reader I mean sure there were charts and back in Los Angeles as opposed to Nashville we have we scrib little numbered charts you know back then you'd come in and you'd have you know maybe two two stands of music and and it would be written out yeah um at least the chords and The rhythms and what have you and a lot of the keyboard Parts if it was guitar parts I mean I'd usually have somebody hum them if they weren't if they were if they sounded if they looked too treacherous but I'd go in and and they just they just play yeah and then they'd hear something and go oh that sounds cool let's let's let's let's let's work on that bit and that's usually how it came out so was Michael Omarian typically the one that was kind of helping you find whatever sort of how he was hearing things or was Peter satara involved at all in that session do you recall oh I'm you know I know Peter I've known known him for years and and remain friends with both those guys um I'm sure it was a little bit both yeah I think Peter was Peter was involved I don't I can't remember if he was on that song but I played on a lot of his recordings at that time so yeah but he he wouldn't have been absent for that much yeah but yeah it was just a thing you know you sit there you know again this sound you know is like it's like kind of a deal right yeah that was the currency of the 80s so you know you start with that and it was it you know all I care about I just want to play a lead on every song that was that was my guitar ego but I had to go through the Rhythm stuff and that was what was getting me hired so basically Bally yeah we would just start playing the song and and um well I mean we throw it up and and yeah let's hear it let's hear glor of below yeah this would have been a volume pedal which I don't have but just imagine yeah we'll imagine just same [Music] course [Music] with the lead [Music] [Music] [Music] choke [Music] something like that I don't know if that's exact you the idea right it's PR exact yeah yeah close enough wow it's I mean it's it sounds so it's such an amazing Part D what what makes me I I appreciate you saying that because like for me it just seems so simple and remedial now again you heard it coming through the lens of a hit song yeah when I listen when I look back at it go God how simple was that there's nothing to it but it did have some of the the the things that you well you you liked it so that's enough you know but it's it's it's you the restraint that sometimes you have to show in order for a part to come alive is that and it's like sort of having the sensibility to understand the difference you know between like when it needs to shred and when it just needs minimal you know plane and in this great processing and that perfect delay and chorus and all that stuff well don't get me wrong all I wanted to do was shred so I mean just be clear I mean you know guitar players have have have a an ego problem let's be honest right we we want to be the center but in you know during this time if you wanted to get hired you're right constraint composition all those things I mean I was never like you know I love guitar so much but I wasn't like some of my other friends who love guitar because they studied the history of and all that kind of stuff for me it was a it was a a vehicle and lo and behold I didn't know that I was on a on a on a path to becoming a record producer yeah you know had no inkling of that but but it makes sense because I really loved the way Parts uh related like composition yeah to me so so I didn't know the difference between playing guitar and composition to me it was all a part of of the same thing that's probably why got hired because I would come up with parts that that were memorable to these these songwriters or artists that basically help frame them as opposed to frame me you yeah no I mean you are an arranger I mean and that you're you you your sensibilities are are just so spot on on it it's just it's so amazing just to hear it and yeah you clearly you had to have some sort of back stop because you were you're you know you want a shred but you you you served the song so well and it's just such a beautiful song Dan thank you oh no I'm glad I'm know it's it's nice it it's it's it's it's funny because you know I can I hear so many influences in my life when I when I was looking back at some of this music um and we can get into some of that at some point maybe when I play some things that are a little closer but but obviously so much of of of that little you know the little percussive stuff yeah was so you know influenced to me um first by Ray Parker Jr yeah when I was in Nashville here growing up I remember the first record that I got was that that that that had both him and Steve Luther on it was a BOS gags record called down two then left uh I don't think it had any major hits on it it was right after silk degrees but back in that age I you know all I cared about was credits on records and and I you know seen Ray Parker play her Ray Parker playing on mtown record so I immediately it was the relationship of his guitar playing I think Jay Gren did a lot of the tracking with him too I think Steve came and did a bunch of solos after the fact but I was always interested in that style of playing way before rock music for me was like Rhythm playing and then obviously when I moved to the West Coast the premier player was Paul Jackson Jr yeah absolutely the top of the tops and and David well I mean again it's it's apples and oranges so David Williams was was right in the in the heart of the scene then too yeah so prolific and so you know this these were my I mean there there were other songs I played on you sometimes with with those guys too yeah because you played on a lot of the debar stuff with Paul Jackson yeah and of course you know I would you know when you're playing you were playing all that stuff um you know I was going to defer to the the best but there was always little you know Snippets for me to do too and then the fact that I was known more as a rock guitar player it kind of helped that I had this you know my rhythm with playing was pretty tight and you I played on a lot of I played on a lot of Moten records myself too never to me never got to the level of Paul but enough for you know to be hired on all those records so so that was that was another part of the currency that you had to be able to go from this a to to Z you know and it wasn't enough just to be a rock guitar player I mean well I should say is enough whatever you want to do if you want to get hired every day yeah you had to be able to do all that stuff

Channel: Vertex Effects

Views: 146,156

Keywords: Mason Marangella, Vertex Effects, Rig Doctor, Pedalboard, Pedalboards, dann huff, 1980s guitar, chicago guitarist, Peter cetera, karate kid soundtrack, glory of love guitar, vintage stratocaster, tri stereo chorus, best strat tone, session guitarist, guitarist interview, the guitarist behind bad, the guitarist behind man in the mirror, dimension d chorus, guitar gear, studio guitar player, guitarist behind Michael jackson, vertex the guitarist behind, glory of love

Id: t1zuGZob73c

Length: 10min 31sec (631 seconds)

Published: Thu Mar 14 2024